AIDS Wolf

Lock thread, plz.

Yeah, AIDS in all its forms, possible flavors and usages is one of the biggest rib-ticklers of all time, no doubt about it.

I would have typed "AIDS" into the search function on the Noise Board, but I would have imagined that I would have an insane amount of results.

http://billtmiller.com/greatscott/gs_aug7_btm_5424.jpg

http://www.omguide.com/images/Concert_MotionCitySoundtrack/Challenger2.jpg

Wait, they're from MTL, aren't they?

(xpost guess so)

Hopper's chatty ArtForum writing style is... exhaaaaaaaaausting.

(confession: I've never heard a note of AIDS Wolf music)

c'mon kenneth lay, i mean weingarten. everybody knows that shit's rigged.

Oh OK that is pretty offensive.

nope. and not in mtl. and i don't know them. so whatevs.

2. There's a band in San Francisco called Child Pornography. I would not want to google them.

3. I'll be at the Child Abuse show tommorrow (Fri) @ Asterisk if anyone wants to hang out.

still - isn't the thing with most noise music that it's pretty interchangeable? i mean even more so than most other genres. and that given the interchangeability of the -sound-, a lot rests on a) the fun-ness of the live show, and b) the band's image/gimmick?

so the fact that the album's pretty mediocre ends up meaning a lot less than whether they're a good time, playing live, and whether their particular aesthetic ("sexy"! slightly offensive! arty! naked in a wood!) appeals to you.

(and Seripop's posters are fucking great)

I'm with you. They are definitely more art project than band, but I think the art project is mighty fun, even though their attempts at "shocking" stunts are C-level at best

still - isn't the thing with most noise music that it's pretty interchangeable? i mean even more so than most other genres. and that given the interchangeability of the -sound-, a lot rests on a) the fun-ness of the live show, and b) the band's image/gimmick?

no, and no.

they're naked in the woods, they have a didgeridoo...

EVERYBODY CALM DOWN - FALSE ALARM - IT IS JUST HIPPIES

(unless senseiDancer delivers the goods)

i'm not sure if this is a joke or what... cbc is aparentlly disscussing banning AIDS wolf from thier airwaves as our name is too offensive for the canadian sensibility.

Now why would you say these people are hippies?

AIDS Wolf also not "noise"

I could care less about genre specifics.

this i find rather awesome

nothing is noise. except for like the first elvis presley singles before he sold out and started combing his hair.

People my age trying to get shocked are kind of quaint.

Hopper seems to be saying:
1) I'm offended
2) These bands suck
3) If these bands didn't suck it would justify the offensiveness (e.g. Albini's gun was loaded so apparently he's OK)

Aside from that morally questionable stance (and Hopper is making a moral argument here), I have a hard time reading this as an AIDS Wolf "takedown" since she didn't even stick around to hear the band. Taken at face value, all her rant tells me is that Bloodyminded may not be very compelling live and AIDS Wolf has an immature merch guy. Um, so what?

It seems short-sighted and narrow-minded to besmirch a varied and variegated noise scene that arguably includes the likes of AIDS Wolf, Prurient, Lightning Bolt, Wolf Eyes, Zeena Parkins, Ikue Mori, Can't/Jessica Rylan, Business Lady, Sightings, The Bunnybrains, No Neck Blues Band, Merzbow, Borbetomagus, Sunn 0))), The Magik Markers, To Live And Shave In LA, Landed, and Sonic Youth.

I'll leave it to someone else to subdivide these bands into their micro-genres, but they frequently play shows with each other, move in the same circles, have overlapping fanbases. Some engage in sub-Whitehouse outrage-baiting tactics, some don't. Painting all "noise bands" with the same broad brush is A PRETTY POINTLESS EXERCISE IN 2005 AD. Always has been.

More stupid and tactless than offensive. Sarah Silverman's act is more offensive. Plus, what does the random spoutings of a guy at a merch booth have to do with anything?

And now I'm offended that you're offended. Offensensitivity.

Instead of performing some socio-feminist-global-policital vivisection of an M.I.A. song, I can just turn off my fucking brain and watch Hair Police ruin an amp.

dude @ merch booth, OK, it's juvenile but not much more offensive than, say, anything else in the world

haha - exactly. Go be offensive where it matters.

But...um, because of Vice they're hard to shock?

I dont know these dudes or Hopper or care about either of them really, but it seemed like you were misrepresenting what she said.

words are sometimes offensive, sure, but "AIDS Wolf gave me AIDS" (while stupid) strikes me as less offensive than 75% of the stuff on "South Park," no? (which is also often stupid)

altho it kind of comes full circle to Hopper's argument -- if it's not offensive, what's the point.

Which leads me to believe that AIDS Wolf / Wolf Eyes shticks are more crimes against music than against sensibilities. Their perceived inability to create strong music accentuates their offensiveness ("that's all there is").

http://tiny.abstractdynamics.org/archives/006237.html

http://i42.photobucket.com/albums/e334/totalcoward/AIDSWolf.jpg

Isn't she doing both?

Sorry that you had to stumble across this on a cursory google or a link someone forwarded. I'm sorry for this:

http://www.joebrower.com/PHILE_PILE/PIX/FR/can_of_worms.jpg

Your pal,
Christopher

It's funny you quoted, "The band, see, they did not work because I was just annoyed and not, in fact, disgusted." That's the weakest point of the entire piece - she didn't even SEE THE BAND. If she was so concerned about the aesthetics of the band, wouldn't she want to spend some time, um, actually analyzing their music?

ha ha ha, oh plz dude, 110 posts yakking about something you blogged last august is the sincerest form of flattery

I only stayed for one band. Bloodyminded (see above) were still playing when I left.

but go ahead and keep pretending this noise stuff is really pushing people's buttons maaaaaaaan

(and I say this as someone who enjoys a fair bit of it!)

I call the bloom county bite!!!

If you take your aesthetics seriously then aesthetic boredom can easily cause moral outrage ------

but then again someone insisting that they've been bored when they've actually been disturbed is a pretty common gambit -----

But one can be offended without thinking something should be banned - e.g. "defend the speech I find indefensible."

And there are many ways to feel about an offensive band.
1) AIDS Wolf offends me, but I find value in their music.
2) AIDS Wolf doesn't offend me, and I find value in their music.
3) AIDS Wolf offends me, and I find no value in their music.
4) AIDS Wolf doesn't offend me, and I find no value in their music.

I'm still not sure which category Hopper falls in. Maybe I'm projecting, but I sense disgust dripping from her write-up, and I'm not sure if it's exclusively based in "I don't like their music."

Shakey, sorry you feel like giving up. I think this is an interesting discussion.

I think sometimes irony can be powerful, when irony is multi-valent. I feel like the irony of Aids Wolf and some noiseniks (Bloodyminded is by no means new school, then been around since back when Vandermark was still just some dude in Weasel Walters band, so I cannot typify, or broad brush it, as I am wont) -- is not multivalent. I feel like it is flat. I feel like it is a direct responce to emo, and I think bands that might otherwise be good come off as effete freshman art schoolers toying with the idea that nothing is shocking. I do not need everything to be DEEP META TEXTUAL STATEMENTS ON FEMINISM for me to like it. I grew up in the noise scene, my first job was working in the mailroom at Amphetamine Reptile in 1992, and granted, "noise" was different then, but I was exposed to a lot of new musics, experimental and faux-fascist, that was more "interesting" or successfully offensive, like... I forget his name, but the funnabe nazi dude that married Lisa Suckdog? Perhaps that makes me old and traditonal. Perhaps it's just a mark of new punks rejecting old punks moral center, or the evolution of such is whole-handed rejection. Like most punx my age, I learned right and wrong from imbued in the white-shame of Fugazi and the didacts in Olympia--political correctness is what I came up steeped in, so that is still my lens, even though such seems wholly inaapropriate in 2006. But, what is music if you do not take it personal.

I know it's like, against the law to post this long or this earnestly on these boards, but just thought I would clarify and then you can beef out, or whatever it is.

Word,
JH

fucking tourists.

That would be Costes. And yeah, he has more creative vision in his pinky than Wolf Eyes have in their combined bodies. But you seem to attack the entire proposition of making extreme/offensive art when it sounds like you just had a bad night out on the town. Who knows, the AIDS Wolf performance might have transcended their stupid name and immature merch guy had you stuck around for it. Sorry to keep harping on that point, but it makes you seem like the people who say, "I don't have to see Brokeback Mountain to know I won't like it."

Actually, this might also be a reference to Boyd Rice.

i actually don't need to see "brokeback mountain" to know i won't like it, tho.

Beef out, indeed!

- Lisa Carver, Rollerderby

Stop comparing wolf eyes to Aids wolf. The use of "wolf" in the name does not automatically make them similar groups.

Noise isn't about anything, it's a lack of a message, it is the abandonment of preconceived notions of music, that is why it has the draw it does. Personally I prefer noise's non-message over the contrived punk-politics that I have spit into my ear by every sad mid-20s activist with a leather jacket and a dead kennedy's patch when I go to a god damned rock and roll show.

RE: calling your band AIDS wolf.

Hmmm. There was a humor zine for people with AIDS called "Diseased Pariah News" that was pretty amazing. It's not as if you can't combine comedy with fucked up devastating illness, I guess the question is, who is making the joke and for whom? If the members of AIDS wolf are HIV positive, then fair enough, it's their party. If they're not, it's a different gesture. If AIDS is just another signifier of "heaviness" among the grab bag of signifiers, that's just an index of the comfortable position from which the gesture emanates. And comfort tends to make people long for things, and overcompensate. My first boyfriend made AIDS jokes all the time. Since his death from AIDS complications I have a hard time laughing along with AIDS humor. But something tells me this band is for people for whom AIDS is exotic, exotically "dated" as a thing to worry about, etc. I wonder if they're going to tour Africa anytime soon.

To state the super obvious: this is not a censorship issue. Of course they can call their band whatever they want.

Also to state the obvious: this has nothing to do with the "noise" scene as a whole or in part because this is a rock band. A "noisy" rock band, but a rock band all the same.

the entire "ha ha deliberately uncool AIDS joke ha ha" gesture was already played- and by a REAL noise band (in fact the greatest noise band ever) cf. the Hanatarash 4 CD subtitled "AIDS-a-delic" on Public Bath.

AND the "ironic hipster douchebag rocks AIDS humor" gesture was played circa Black Nasty's "AIDS Can't Stop Me" bedroom hip hop CD, years and years ago.

So, it's not even a new way to piss people off, and it's been done before by people whose actual sound/music was worth the time of day.

That is all.

Anyway, if there's anything notable about this group, it's how not shocking their shtick seems. "Transgressive" is definitely not how I would describe them. Their act seems completely pat and kind of traditional in a good way. Reassuring. I like Green Day/White Stripes/etc in small doses and if they ever made to MTV, I bet I'd like the Aids Wolf in exactly the same way.

Also one difference between calling your band "Cancer Clown" or "Child Abuse" or "Child Pornography" or whatever and namechecking AIDS in your joke band is that NOBODY in this country thinks cancer, child or child pornorgaphy are God's personal ethnic cleansing method / moral judgment upon their victims. AIDS has wiped out a huge swath of a generation of people, many of the best-and-brightest, whose swift and gruesome deaths were made even more egregious in light of the absolute political indifference to it in the first decade that it raged. Also, the fact is that today AIDS kills disproportionately more gay people and African-American people than any other demographic. Nice call, white art band. The name isn't "shocking" so much as staggeringly stupid.

P.S. Jessica Hopper is right too.

by Tim Dlugos

I'm at a double wake
in Springfield, for a childhood
friend and his father
who died years ago. I join
my aunt in the queue of mourners
and walk into a brown study,
a sepia room with books
and magazines. The father's
in a coffin; he looks exhumed,
the worse for wear. But where
my friend's remains should be
there's just the empty base
of an urn. Where are his ashes?
His mother hands me
a paper cup with pills:
leucovorin, Zovirax,
and AZT. "Henry
wanted you to have these,"
she sneers. "Take all
you want, for all the good
they'll do." "Dlugos.
Meester Dlugos." A lamp
snaps on. Raquel,
not Welch, the chubby
nurse, is standing by my bed.
It's 6 a.m., time to flush
the heplock and hook up
the I.v. line. False dawn
is changing into day, infusing
the sky above the Hudson
with a flush of light.
My roommate stirs
beyond the pinstriped curtain.
My first time here on G-9,
the AIDS ward, the cheery
D & D Building intentionality
of the decor made me feel
like jumping out a window.
I'd been lying on a gurney
in an E.R. corridor
for nineteen hours, next to
a psychotic druggie
with a voice like Abbie
Hoffman's. He was tied
up, or down, with strips
of cloth (he'd tried to slug
a nurse) and sent up
a grating adenoidal whine
all night. "Nurse. . . nurse. . .
untie me, please. . . these
rags have strange powers."
By the time they found
a bed for me, I was in
no mood to appreciate the clever
curtains in my room,
the same fabric exactly
as the drapes and sheets
of a P-town guest house
in which I once — partied? stayed?
All I can remember is
the pattern. Nor did it
help to have the biggest queen
on the nursing staff
clap his hands delightedly
and welcome me to AIDS-land.
I wanted to drop
dead immediately. That
was the low point. Today
these people are my friends,
in the process of restoring
me to life a second time.

I can walk and talk
and breathe simultaneously
now. I draw a breath
and sing "Happy Birthday"
to my roommate Joe.
He's 51 today. I didn't think
he'd make it. Three weeks
ago they told him that he had
aplastic anemia, and nothing
could be done. Joe had been
a rotten patient, moaning
operatically, throwing chairs
at nurses. When he got
the bad news, there was
a big change. He called
the relatives with whom
he had been disaffected,
was anointed and communicated
for the first time since the age
of eight when he was raped
by a priest, and made a will.
As death drew nearer, Joe
grew nicer, almost serene.
Then the anemia
began to disappear, not
because of medicines, but
on its own. Ready to die,
it looks like Joe has more
of life to go. He'll go
home soon. "When will you
get out of here?" he asks me.
I don't know; when the X-ray
shows no more pneumonia.
I've been here three weeks
this time. "What have I
accomplished? Read some
Balzac, spent "quality
time" with friends, come back
from death's door, and
prayed, prayed a lot.
Barry Bragg, a former
lover of a former
lover and a new
Episcopalian, has AIDS too,
and gave me a leatherbound
and gold-trimmed copy of the Office,
the one with all the antiphons.
My list of daily intercessions
is as long as a Russian
novel. I pray about AIDS
last. Last week I made a list
of all my friends who've died
or who are living and infected.
Every day since, I've remembered
someone I forgot to list.
This morning it was Chasen
Gaver, the performance poet
from DC. I don't know
if he's still around. I liked
him and could never stand
his poetry, which made it
difficult to be a friend,
although I wanted to defend
him one excruciating night
at a Folio reading, where
Chasen snapped his fingers
and danced around spouting
frothy nonsense about Andy
Warhol to the rolling eyes
of self-important "language-
centered" poets, whose dismissive
attitude and ugly manners
were worse by far than anything
that Chasen ever wrote.

Charles was his real name;
a classmate at Antioch
dubbed him "Chasen," after
the restaurant, I guess.
Once I start remembering,
so much comes back.
There are forty-nine names
on my list of the dead,
thirty-two names of the sick.
Cookie Mueller changed
lists Saturday. They all
will, I guess, the living,
I mean, unless I go
before them, in which case
I may be on somebody's
list myself. It's hard
to imagine so many people
I love dying, but no harder
than to comprehend so many
already gone. My beloved
Bobby, maniac and boyfriend.
Barry reminded me that he
had sex with Bobby
on the coat pile at his Christmas
party, two years in a row.
That's the way our life
together used to be, a lot
of great adventures. Who'll
remember Bobby's stories
about driving in his debutante
date's father's white Mercedes
from hole to hole of the golf course
at the poshest country club
in Birmingham at 3 a.m.,
or taking off his clothes
in the redneck bar on a dare,
or working on Stay Hungry
as the dresser of a then-
unknown named Schwarzenegger
Who will be around to anthologize
his purple cracker similes:
"Sweatin' like a nigger
on Election Day," "Hotter
than a half-fucked fox
in a forest fire." The ones
that I remember have to do
with heat, Bobby shirtless,
sweating on the dance floor
of the tiny bar in what is now
a shelter for the indigent
with AIDS on the dockstrip,
stripping shirts off Chuck Shaw,
Barry Bragg and me, rolling
up the tom rags, using them
as pom-poms, then bolting
off down West Street, gracefully
(despite the overwhelming
weight of his inebriation)
vaulting over trash cans
as he sang, "I like to be
in America" in a Puerto Rican
accent. When I pass,
who'll remember, who will care
about these joys and wonders?
I'm haunted by that more
than by the faces
of the dead and dying.
A speaker crackles near
my bed and nurses
streak down the corridor.
The black guy on the respirator
next door bought the farm,
Maria tells me later, but
only when I ask. She has tears
in her eyes. She'd known him
since his first day on G-9
a long time ago. Will I also
become a fond, fondly regarded
regular, back for stays
the way retired retiring
widowers return to the hotel
in Nova Scotia or Provence
where they vacationed with
their wives? I expect so, although
that's down the road; today's
enough to fill my plate. A bell
rings, like the gong that marks
the start of a fight. It's 10
and Derek's here to make
the bed, Derek who at 16
saw Bob Marley's funeral
in the football stadium
in Kingston, hot tears
pouring down his face.
He sings as he folds
linens, "You can fool
some of the people some
of the time," dancing
a little softshoe as he works.
There's a reason he came in
just now; Divorce Court
drones on Joe's TV, and
Derek is hooked. I can't
believe the script is plausible
to him, Jamaican hipster
that he is, but he stands
transfixed by the parade
of faithless wives and screwed-up
husbands. The judge is testy;
so am I, unwilling
auditor of drivel. Phone
my friends to block it out:
David, Jane and Eileen. I missed
the bash for David's magazine
on Monday and Eileen's reading
last night. Jane says that
Marie-Christine flew off
to Marseilles where her mother
has cancer of the brain,
reminding me that AIDS
is just a tiny fragment
of life's pain. Eileen has
been thinking about Bobby, too,
the dinner that we threw
when he returned to New York
after getting sick. Pencil-thin,
disfigured by KS, he held forth
with as much kinetic charm
as ever. What we have
to cherish is not only
what we can recall of how
things were before the plague,
but how we each responded
once it started. People
have been great to me.
An avalanche of love
has come my way
since I got sick, and not
just moral support.
Jaime's on the board
of PEN's new fund
for AIDS; he's helping out.
Don Windham slipped a check
inside a note, and Brad
Gooch got me something
from the Howard Brookner Fund.
Who'd have thought when we
dressed up in ladies'
clothes for a night for a hoot
in Brad ("June Buntt") and
Howard ("Lili La Lean")'s suite
at the Chelsea that things
would have turned out this way:
Howard dead at 35, Chris Cox
("Kay Sera Sera")'s friend Bill
gone too, "Bernadette of Lourdes"
(guess who) with AIDS,
God knows how many positive.
Those 14th Street wigs and enormous
stingers and Martinis don't
provoke nostalgia for a time
when love and death were less
inextricably linked, but
for the stories we would tell
the morning after, best
when they involved our friends,
second-best, our heroes.
J.J. Mitchell was a master
of the genre. When he learned
he had AIDS, I told him
he should write them down.
His mind went first. I'll tell you
one of his best. J.J. was
Jerome Robbins' houseguest
at Bridgehampton. Every morning
they would have a contest
to see who could finish
the Times crossword first.
Robbins always won, until
a day when he was clearly
baffled. Grumbling, scratching
over letters, he finally
threw his pen down. "J.J.,
tell me what I'm doing wrong."
One clue was "Great 20th-c.
choreographer." The solution
was "Massine," but Robbins
had placed his own name
in the space. Every word
around it had been changed
to try to make the puzzle
work, except that answer.
At this point there'd be
a horsey laugh from JJ.
— "Isn't that great?"
he'd say through clenched
teeth ("Locust Valley lockjaw'').
It was, and there were lots
more where that one came from,
only you can't get there anymore.
He's dropped into the maw
waiting for the G-9
denizens and for all flesh,
as silent as the hearts
that beat upon the beds
up here: the heart of the drop-
dead beautiful East Village
kid who came in yesterday,
Charles Frost's heart nine inches
from the spleen they're taking
out tomorrow, the heart of
the demented girl whose screams
roll down the hallways
late at night, hearts that long
for lovers, for reprieve,
for old lives, for another chance.
My heart, so calm most days,
sinks like a brick
to think of all that heartache.
I've been staying sane with
program tools, turning everything
over to God "as I understand
him." I don't understand him.
Thank God I read so much
Calvin last spring; the absolute
necessity of blind obedience
to a sometimes comforting,
sometimes repellent, always
incomprehensible Source
of light and life stayed
with me. God can seem
so foreign, a parent
from another country,
like my Dad and his own
father speaking Polish
in the kitchen. I wouldn't
trust a father or a God
too much like me, though.
That is why I pack up all
my cares and woes, and load them
on the conveyor belt, the speed
of which I can't control, like
Chaplin on the assembly line
in Modern Times or Lucy on TV.
I don't need to run
machines today. I'm standing
on a moving sidewalk
headed for the dark
or light, whatever's there.
Duncan Hannah visits, and
we talk of out-of-body
experiences. His was
amazing. Bingeing on vodka
in his dorm at Bard, he woke
to see a naked boy
in fetal posture on the floor.
Was it a corpse, a classmate,
a pickup from the blackout
of the previous night? Duncan
didn't know. He struggled
out of bed, walked over
to the youth, and touched
his shoulder. The boy turned;
it was Duncan himself.
My own experience was
milder, don't make me flee
screaming from the room
as Duncan did. It happened
on a Tibetan meditation
weekend at the Cowley Fathers'
house in Cambridge.
Michael Koonsman led it,
healer whose enormous paws
directed energy. He touched
my spine to straighten up
my posture, and I gasped
at the rush. We were chanting
to Tara, goddess of compassion
and peace, in the basement chapel
late at night. I felt myself
drawn upward, not levitating
physically, but still somehow
above my body. A sense
of bliss surrounded me.
It lasted ten or fifteen
minutes. When I came down,
my forehead hurt. The spot
where the "third eye" appears
in Buddhist art felt
as though someone had pushed
a pencil through it.
The soreness lasted for a week.
Michael wasn't surprised.
He did a lot of work
with people with AIDS
in the epidemic's early days,
but when he started losing
weight and having trouble
with a cough, he was filled
with denial. By the time
he checked into St. Luke's,
he was in dreadful shape.
The respirator down his throat
squelched the contagious
enthusiasm of his voice,
but he could still spell out
what he wanted to say
on a plastic Ouija board
beside his bed. When
the doctor who came in
to tell him the results
of his bronchoscopy said,
"Father, I'm afraid I have
bad news," Michael grabbed
the board and spelled,
"The truth is always
Good News." After he died,
I had a dream in which
I was a student in a class
that he was posthumously
teaching. With mock annoyance
he exclaimed, "Oh, Tim!
I can't believe you really think
that AIDS is a disease!"
There's evidence in that
direction, I'll tell him
if the dream recurs: the shiny
hamburger-in-lucite look
of the big lesion on my face;
the smaller ones I daub
with makeup; the loss
of forty pounds in a year;
the fatigue that comes on
at the least convenient times.
The symptoms float like algae
on the surface of the grace
that buoys me up today.
Arthur comes in with
the Sacrament, and we have
to leave the room (Joe's
Italian family has arrived
for birthday cheer) to find
some quiet. Walk out
to the breezeway, where
it might as well be
August for the stifling
heat. On Amsterdam,
pedestrians and drivers are
oblivious to our small aerie,
as we peer through the grille
like cloistered nuns. Since
leaving G-9 the first time,
I always slow my car down
on this block, and stare up
at this window, to the unit
where my life was saved.
It's strange how quickly
hospitals feel foreign
when you leave, and how normal
their conventions seem as soon
as you check in. From below,
it's like checking out the windows
of the West Street Jail; hard
to imagine what goes on there,
even if you know firsthand.
The sun is going down as I
receive communion. I wish
the rite's familiar magic
didn't dull my gratitude
for this enormous gift.
I wish I had a closer personal
relationship with Christ,
which I know sounds corny
and alarming. Janet Campbell
gave me a remarkable ikon
the last time I was here;
Christ is in a chair, a throne,
and St. John the Divine,
an androgyne who looks a bit
like Janet, rests his head
upon the Savior's shoulder.
James Madden, priest of Cowley,
dead of cancer earlier
this year at 39, gave her
the image, telling her not to
be afraid to imitate St. John.
There may come a time when
I'm unable to respond with words,
or works, or gratitude to AIDS;
a time when my attitude
caves in, when I'm as weak
as the men who lie across
the dayroom couches hour
after hour, watching sitcoms,
drawing blanks. Maybe
my head will be shaved
and scarred from surgery;
maybe I'll be pencil-
thin and paler than
a ghost, pale as the vesper
light outside my window now.
It would be good to know
that I could close my eyes
and lean my head back
on his shoulder then,
as natural and trusting
as I'd be with a cherished
love. At this moment,
Chris walks in, Christopher
Earl Wiss of Kansas City
and New York, my lover,
my last lover, my first
healthy and enduring relationship
in sobriety, the man
with whom I choose
to share what I have
left of life and time.
This is the hardest
and happiest moment
of the day. G-9
is no place to affirm
a relationship. Two hours
in a chair beside my bed
after eight hours of work
night after night for weeks
. . . it's been a long haul,
and Chris gets tired.
Last week he exploded,
"I hate this, I hate your
being sick and having AIDS
and lying in a hospital
where I can only see you
with a visitor's pass. I hate
that this is going to
get worse." I hate it,
too. We kiss, embrace,
and Chris climbs into bed
beside me, to air-mattress
squeaks. Hold on. We hold on
to each other, to a hope
of how we'll be when I get out.
Let him hold on, please
don't let him lose his
willingness to stick with me,
to make love and to make
love work, to extend
the happiness we've shared.
Please don't let AIDS
make me a monster
or a burden is my prayer.
Too soon, Chris has to leave.
I walk him to the elevator
bank, then totter back
so Raquel can open my I.V.
again. It's not even
mid-evening, but I'm nodding
off. My life's so full, even
(especially?) when I'm here
on G-9. When it's time
to move on to the next step,
that will be a great adventure,
too. Helena Hughes, Tibetan
Buddhist, tells me that
there are three stages in death.
The first is white, like passing
through a thick but porous wall.
The second stage is red;
the third is black, and then
you're finished, ready
for the next event. I'm glad
she has a road map, but I don't
feel the need for one myself.
I've trust enough in all
that's happened in my life,
the unexpected love
and gentleness that rushes in
to fill the arid spaces
in my heart, the way the city
glow fills up the sky
above the river, making it
seem less than night. When
Joe O'Hare flew in last week,
he asked what were the best
times of my New York years;
I said "Today," and meant it.
I hope that death will lift me
by the hair like an angel
in a Hebrew myth, snatch me with
the strength of sleep's embrace,
and gently set me down
where I'm supposed to be,
in just the right place.

good job!

A resident of said vandalized building later informed the band that the phrase was derived from an urban legend (this is Ohio, mind you) concerning AIDS-infected wolves coming down into the city and biting people’s housepets. The pets then passed AIDS on to their owners via seemingly innocuous licks. “They had a ferret stuck in their walls,� she says, “and when it would scratch around, they’d be like, ‘Oh no! There’s the AIDS Wolf!’�

Also, to even mention AIDS Wolf in the same breath as NNCK should be a capital offense.

The band broke up on March 22nd, 2012. [1]

AIDS Wolf just announced they have broken up

― sarahell, Friday, March 23, 2012 12:38 PM (6 months ago)

never heard this band but that tim dlugos poem is amazing

It was a small tragedy in my mind that around 2008 or 2009 this band went from being "kinda bad" to being "kinda the best", but nobody noticed b/c of "AIDS"

That, or that any goodwill toward them had expired after years of less-than-stellar shows. Too bad! They got so amazing toward the end!

u mean once they became a trio?

I think so? I once tried to ask Chloe the question as delicately as I could-- "how did your band get so good suddenly?"-- and she said they stopped what they had been doing and spent a year reworking and revising.

Their second-last show at Casa is up on Youtube and I re-watched it to make sure I Wasn't Just Kidding Myself and I'm not, it was super super

yeah that was a good era

seripop art>>>>>>aids wold music

yeah, sure, but that art is pretty rad so

idk i claimed to have hated aw for years & while i never fully got on board, i gotta say their live show was always really brutal and crazy and whether good or bad got a really strong response out of me every time. i was never bored and never walked out on one of their sets

I like Seripop just fine but don't think it needs to be a, what do they call it? False binary

This is the show?: http://youtu.be/u8w4l_iIxjo

Some cool stuff for sure.

Anyone into Drainolith?

What is Drainolith
*googles*
OK!

I walked out of an AW show in ~2006 at Tranzac when Chloe put her mouth over the mic and went OOOOOoOOOoOOOOOOOOOOO so loud that the tweeters glowed red and my ear started singing

what kind of things did your ear sing?

"I got AIDS" iirc

oh man, you even got it in the ear before?

I guess!